The Last Great Dance on Earth (32 page)

There have been times over the last three years when I felt that the spirits were putting roadblocks in my path, that there was a conspiracy to prevent this book from drawing to a close—a conspiracy in which I was, no doubt, an unconscious accomplice, for this hasn’t been an easy book to finish. It ends a decade of daily interaction with Josephine and her family, closes a curtain on a world that has become home to me.

Perhaps the most difficult part of writing this novel was having to simplify a very complex narrative. Many delightful characters and fascinating stories had to be cut: readers familiar with the period will miss Fanny Beauharnais’s granddaughter Stéphanie (
another
spirited Stéphanie); the several Tascher boys sent from Martinique to take advantage of the caring protection of their Empress aunt; Talleyrand’s marriage to the delightfully clueless Madame Grand; General Bernadotte and his wife (Napoleon’s first love, Eugénie-Désirée Clary), who became King and Queen of Sweden; the colourful Spanish royalty, most especially the unforgettable Prince of Peace. Any of these people could easily be the subject of a novel.

But most of all I have felt inadequate to the task of properly portraying Napoleon, his strengths and weaknesses, his vision and blindness, his heroic accomplishments and grievous failings. As well, the political picture—so vast and so complex—had to be simplified. Notably missing is the story of Toussaint’s defence of Saint-Domingue (Haiti today) and his tragic death in France, as well as the story of the arrest and imprisonment of the Pope. This novel represents only the tip of the iceberg.

Of those individuals I have chosen to include, my apologies to their descendants if I have misrepresented them in any way. I hope my respect and love for them shows, even in their villainy.

Researching this book in Europe, I owe special thanks to Yves Carlier, the curator of Fontainebleau, who took me on a tour behind the scenes of that amazing château, and the staff of the Archives Municipales in Évreux. And, as always, I owe a special thanks to Bernard Chevallier and Dr. Catinat at Malmaison. Dr. Catinat has happily answered my numerous questions for almost a decade. His knowledge and perception of “notre héroïne” have influenced me greatly.

Special appreciation is due to all those on various Net history forums who took the time to give me specific information, notably: Bruno Nackaerts, Beryl Bernardi, Cori Hauer-Galambos, Yves Martin, and especially Tom Holmberg, who made perceptive and helpful suggestions after reading an early draft. Military historian Dr. Margaret Chrisawn not only answered my frequent questions, but combed the final text for errors (those errors that remain are entirely my responsibility). My debt to her since the inception of this trilogy is immense. Historian Dr. John McErlean kept me posted of new publications and developments; Irène Delage at Le Souvenir Napoléonien helped find obscure references; John Ballantrae provided tarot expertise; hemp activist Robert Anderman provided an interesting perspective regarding the Russian campaign; and Marshall Pynkoski and Jeannette Zingg of Opéra Atelier opened my eyes to the intricate world of eighteenth-century dance.

The members of the Algonquin Book Club (Penney Carson-Mak, Shirley Felker, Bonnie Ference, Catherine Lee, Rhoda Levert, Joanne Paine and Cathleen Sullivan) gave an exceptionally helpful critique of an early draft. My hard-working readers proved invaluable yet again: Peggy Bridgland, Janet Calcaterra, Thea Caplan, Dorothy Goodman, Marnie MacKay, Jenifer McVaugh, Carmen Mullins, Fran Murphy, Robin Paige, Chris Pollock, and especially my parents, Robert and Sharon Zentner. Kristine Puopolo at Scribners made very helpful suggestions. The sensitive work of Fiona Foster, a talented editor, is apparent on every page. A “triple salvo of bravos” to Judy Holland, who read two drafts and each time gave me the benefit of her considerable expertise as an editor, writer and teacher.

Thanks to Jan Whitford, whose early faith has at last been rewarded, and to my “home team” at HarperCollins Canada: Karen Hanson, Roy Nicol, Magda Nusink, Lorissa Sengara, Rebecca Vogan—and especially, especially,
especially
my editor and publisher, Iris Tupholme, who wept reading each draft.

And, as always, I thank my husband Richard, who picked me up when I fell down, brushed me off and gently but firmly turned me back in the direction of the eighteenth century.

“Gulland uses history to challenge many of the assumptions historians have made. … What remains indelible is the portrait of Josephine as a woman: elegant, curious and humane.”

– The Globe and Mail

“[A] novel that brings a shadowy historical figure to full, vibrant life.”

– Ottawa Citizen

“Gulland warns us in her bibliography that her subject is addictive. Too late.” –
Toronto Star

“Gulland weaves an intriguing and intimate love story around the vast sweep of history [in this] exceptional piece of historical fiction. [Her] meticulous research into the daily life in French Court … provides the stories with richness, depth and colour. [A] ‘can’t put it down’ book.” –
The Hamilton Spectator

“Gulland’s passion is obviously in scale with her larger-than-life subjects. [Her] fascination … with Josephine’s complexities and inconsistencies … brings her books alive… . A great story told well.”

– Edmonton Journal

“The Last Great Dance on Earth
carries the reader along [through] the turmoil of the times… . The personal tragedy of Napoleon and Josephine … is genuinely moving.” –
Quill & Quire

“The human side of history comes alive in [this] study of Josephine and her famous husband.” –
The Eganville Leader

THE MANY LIVES & SECRET SORROWS OF JOSEPHINE B.
TALES OF PASSION, TALES OF WOE
MISTRESS OF THE SUN